& Haydn Society and Emmanuel Music (Boston), St. Luke’s Chamber Ensemble and Concert Royal (NY), and at well known music festivals, including Marlboro, Saratoga, the New England Bach Festival, the Boston and Berkeley Early Music Festivals, and Aston Magna. Mr. Sherman holds degrees in History and Musicology from The University of Chicago and in Harpsichord Performance from the Julliard School, where he studied with Albert Fuller. He is one of today’s leading exponents of the art of basso continuo realization and frequently teaches master classes on Baroque accompaniment. His recordings appear on the Dorian, Musical Heritage Society, Koch International, Reference Recordings and BMG labels.

Season Sponsors We are most grateful to major sponsors of this fi rst full concert series: Anonymous, Jeannette and Ian Capps, Katherine and Carl Crosier, Dr. Lynne Johnson, Joseph McAlister, Herbert Sato, the Department of Arts and Sciences, Hawaii Pacifi c University, and a donor on behalf of Hawaii Public Radio’s The Early Muse. Early Music Hawaii Presents Donors for Musica Pacifi ca We are also grateful for donations for this concert from Marilyn and Carl Bernhardt, Vreni Griffi th, Jean and Harvey Singer and Garrett Webb.

Volunteers Continental Breakfast We thank the music-lovers who have volunteered to make this evening run smoothly: Cathy and Stan Baptista, Sandra Edwards, John and Anne Flanigan, Don Graber, A Tasty Menu of Baroque Gems Vreni Griffi th and Ulrike Scherer.

Lutheran Church of Honolulu Early Music Hawaii wishes to thank the Lutheran Church of Honolulu for hosting this concert. The church resonates with the exceptional acoustics, intimate ambience Musica Pacifi ca and warm aloha which suit the Renaissance and Baroque repertory so well. Judith Linsenberg, recorder Early Music Hawaii Early Music Hawaii is a nonprofi t organization established in 2005 to promote Elizabeth Blumenstock, baroque violin the performance and enjoyment of Medieval, Renaissance and baroque music in Josh Lee, viola da gamba our islands and to explore historical performance practices. We seek to encourage Charles Sherman, harpsichord performers and audiences by presenting and publicizing concerts and workshops in Hawaii, and to provide a forum for groups and individuals interested in early music. Saturday, April 27, 2013, 7:30 pm Please consider helping us to achieve these objectives with an online donation at www.earlymusichawaii.com or by check to PO Box 632, Kailua-Kona, Hi 96745. Lutheran Church of Honolulu 1730 Punahou St., Honolulu www.earlymusichawaii.com

8 MUSICA PACIFICA mundi USA, Koch International, Reference Recordings, Musical Heritage Society, Judith Linsenberg, recorder Drag City Records (with Joanna Newsom) and Hännsler Classics. A Fulbright Elizabeth Blumenstock, violin* scholar to Austria, she was awarded the Soloist Diploma with Highest Honors from Josh Lee, viola da gamba the Vienna Academy of Music. She is a summa cum laude graduate of Princeton Charles Sherman, harpsichord University, holds a doctorate in early music from Stanford University, and has been a visiting professor at the Vienna Conservatory and Indiana University’s Early Music Institute in Bloomington. Continental Breakfast Baroque violinist Elizabeth Blumenstock is widely admired as a performer of interpretive eloquence and technical sparkle. A frequent soloist, concertmaster Concerto Nr. 2 in D major Georg Philipp Telemann and leader with Philharmonia Baroque, American Bach Soloists, the Santa Fe Pro (“Paris Quartets,” 1730) (1681-1767) Musica and the Italian ensemble Il Complesso Barocco, she is also a member of Allegro several of California’s fi nest period instrument ensembles, including Musica Pacifi ca, Affettuoso Trio Galatea, the Arcadian Academy and Trio Galanterie. She has appeared with Vivace period orchestras and chamber ensembles throughout the US and abroad, and has performed for the Boston and Berkeley early Music Festivals, Germany’s Goettingen Musette from Les Indes Galantes Jean-Philippe Rameau Handelfestspiel, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi Tambourins from Dardanus (1683-1764) festival in Finland and the San Luis Obispo Mozart Festival, among many others. With over 90 recordings to her credit, she has recorded for harmonia mundi, Trio Sonata in F major Johann Sebastian Bach Deutsche Grammophon, Virgin Classics, Dorian, BMG, Reference Recordings and Koch International. She is instructor of baroque violin at the University of Southern after Sonata No. 5 in C major for Organ, BWV 529 (1685-1750) California, and has taught at the international Baroque Institute at Longy, Oberlin’s Allegro Baroque Performance Institute and the Austrian Baroque Academy, and has coached Largo university baroque ensembles at USC, Roosevelt University, the University of Allegro Virginia and California Institute of the Arts. Josh Lee, viola da gamba. Cited for his “stylish and soulful playing,” Josh Lee Sonata Decima Dario Castello (fl . 1620) performs on viols and double bass with some of the world’s leaders in early music. from Sonate Concertate in Stil Moderno, Bk II, 1644 Josh is an alumnus of the Peabody Conservatory and the Longy School of Music Sonata sopra L’Aria di Ruggiero Salomone Rossi (16th-17th century) where he studied double bass with Harold Hall Robinson and viol with Ann Marie Morgan and Jane Hershey. Founder of the ensemble Ostraka, he has performed with intermission the Los Angeles Philharmonic, Carmel Bach Festival, Musica Pacifi ca, Boston Early An English Court Masque Music Festival Orchestra, Seattle Baroque Orchestra, Les Délices and Philharmonia The Temple Anticke Anon. Baroque Orchestra. Josh’s performances have been heard on National Public Radio’s Performance Today and Harmonia, and he has recorded for Dorian, Koch Cuperaree or Graysin Anon. International and Reference Recordings. Recently praised as “a master of the score’s La Volta William Byrd (c.1543-1623) after Thomas Morley wandering and acrobatic itinerary” by the Cleveland Plain Dealer, Josh is director of The Fairey Masque Robert Johnson (c.1583-1633) the Viola da Gamba Society of America Young Players’ Weekend.

A Sonata of Scots Tunes (1740) James Oswald (1710-1769) Charles Sherman, harpsichord, is recognized as one of the leading harpsichord soloists and continuo players in the country and has been called a “fl uent virtuoso” O Mother What Shall I Do? by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque She Rose and Let Me In Orchestra and Musica Pacifi ca. Previously, as a member of the Aulos Ensemble Cromlit’s Lilt (NY) for many years, he toured regularly throughout North America and overseas Polwart on the Green and recorded extensively. He has also performed with such acclaimed ensembles as the Philadelphia Orchestra, American Baroque (SF), Musica Angelica (LA), Handel

2 7 fi ddle variations on popular tunes. A variety of musical opportunities brought him from Sonata in A major, Op. 2, No. 9 Francesco Veracini eventually to London, where he perfected his compositional skills in both “Scottish” Scozzese: un poco andante et affettuoso (1690-1768) and “classical” idioms, which he frequently combined. His Sonata of Scots Tunes is just such a hybrid: Oswald gives pre-existing Scots folk tunes a standard Italianate English Country Dances Traditional trio sonata treatment, juxtaposing pieces of different character and giving each a Newcastle arr. Musica Pacifi ca supportive basso continuo line. Rufty Tufty During the intense and long-lasting period of infatuation with all things Scottish Irish Lamentation that swept the Continent in the 18th century, composers and poets not themselves Scotch Cap from Scotland fell under the sway of beautiful Celtic tunes. Geminiani, Haydn Jack’s Maggot and Beethoven, to name just a few, all made arrangements of them. Francesco Veracini’s homage to Scottish taste, in the movement from his Sonata for violin * Ms. Blumenstock plays an Andrea Guarneri violin built in Cremona in 1660, which in A major, Scozzese, is a minor masterpiece of blended Italian and Scottish styles. is on generous loan to her from the Philharmonia Baroque Period Instrument Trust. There are written references to English Country Dance going back to the 1400s, but this emerged as a distinct genre during the reign of Elizabeth I in the 16th century. The dances were amalgamations of the Continental courtly dances brought MUSICA PACIFICA to the Elizabethan court by Italian and other foreign dancing masters and the popular dances done by the English country “folk.” Dances were written to folk tunes, popular ballads, and stage music, as well as music composed for the purpose. Musica Pacifi ca has, since its founding in 1990, become widely recognized as Country dancing peaked in popularity in the late 18th century (as described, for one of America’s premier baroque ensembles, lauded for both the dazzling example, by Jane Austen). After a hiatus in the 19th century, interest reawakened in virtuosity and the warm expressiveness of its performances. They have the early 20th century and has continually increased, with hundreds of new dances been described by the press as “some of the fi nest baroque musicians in and tunes in English country dance style being composed in the last 30 years. The America” (American Record Guide) and “among the best in the world” (Alte evocative names of these dances sometimes have associations we can guess at: “Rufty Musik Aktuell). At home in the San Francisco Bay area, the artists perform Tufty,” for example, is soldier’s slang for battered equipment and dirty uniforms worn with Philharmonia Baroque and American Bach Soloists, and appear with by hard use. Irish Lamentation is related to a tune known as “Limerick’s Lamentation,” many other prominent music ensembles nationally and abroad. commemorating the siege and fall of Limerick to English forces in 1691. Some have suggested that Scotch Cap refers to a nightcap or a last drink, rather than a bonnet; Musica Pacifi ca’s eight CD releases on the Virgin Classics, Dorian and Solimar the tune turns up in the earliest editions of Playford. The vividly-named Jack’s Maggot takes its name from the 17th-century term for a whimsical or fantastical idea. labels have won national and international awards.

The Performers Judith Linsenberg, recorder, is one of the leading exponents of the recorder in the US and has been acclaimed for her “virtuosity,” “expressivity” and “fearless playing.” She has performed extensively throughout the US and Europe, including solo appearances at the Hollywood Bowl, Lincoln Center and the Montreal Recorder Festival; and has been featured with such leading American ensembles as the San Francisco Symphony, the San Francisco and Los Angeles Operas, the Oregon Symphony, LA Chamber Orchestra, Philharmonia Baroque, American Bach Soloists, the Portland and Seattle Baroque Orchestras, the Oregon and Carmel Bach Festivals, Musica Angelica of Los Angeles and others. She is the winner of national Concerts by Musica Pacifi ca and other touring groups presented by Early Music Hawaii performance awards, and has premiered several new works for the recorder. In 2008 are funded in part by WESTAF and the National Endowment for the Arts. Early and 2012, she was awarded residencies at the Sitka Center for Art and Ecology in Music Hawaii is grateful to these institutions for their generous support. Otis, OR. Linsenberg has recorded for Virgin Classics, Dorian, Solimar, harmonia

6 3 Continental Breakfast – Program Notes While working as cantor at the Thomasschule in Leipzig, Johann Sebastian Bach compiled a set of six organ sonatas, or “trios,” for two manuals and obbligato Much of the “classical” music from the 17th and 18th centuries that we now enjoy pedal. In three parts throughout and with an active pedal part, the sonatas are in made extensive use of the popular tunes and dances of the day. At the same time, true Italianate trio-sonata texture, and may have originated as works for chamber many popular tunes came originally from more formal and even learned settings: ensemble. Reversing this process, we perform Sonata Number 5 in an arrangement royal courts and the Church. On today’s program, we highlight this exchange. For that may closely refl ect its original form: the recorder plays the line assigned to the example, Il Ruggiero was an immensely popular tune in 17th century Italy, and was set right hand of the organ part, the violin that of the left hand, and the continuo that by several composers, while Musettes and Tambourins were popular dance forms. James of the pedals. This sonata’s spirited and rigorously contrapuntal outer movements Oswald and Francesco Veracini took already-existing Scottish folk tunes and quite fl ank a beautiful and dramatic central slow movement characterized by more galant artfully decked them out in trio sonata and sonata clothing. style motives, such as the unstressed “feminine” cadences throughout. You’ll notice this program “unwinds” a bit as it goes along--the pieces in the fi rst Nothing is known about the life of Dario Castello, other than that which the title half (especially the Bach and the Telemann) are clearly “classical” even if they make pages of his publications indicate--that he was the leader of the wind instrument use of popular elements. The second half of the program contains a selection of players, and later, the leader of all instruments at San Marco in Venice. His music pieces from our “Dancing in the Isles” recording, which makes explicit connections must have been very popular in his time, because both of his books of sonatas, between classical and popular styles in the British Isles in the 17th and 18th Centuries. fi rst published in 1621 and 1629, were reprinted into the 1650s. His pieces show a Distinctions blur as this section of the program progresses. The Masque Dances, joy in vivid contrasts and in sheer extravagance of gesture. Their modern sectional for example, careen back and forth between a dignifi ed, aristocratic style and a construction--alternating rhythmic passages and dance-like sections with freer more rambunctious, popular one. Although it may seem that we throw the cloak of and more improvisatory passages--creates an impression of constant change: it is learning off in our rousing setting of English Country Dance tunes, many of them impetuous and mercurial, running from section to section as though each idea made originated in court dance music. Some might argue that ‘popular’ music is of lower the composer impatient for the next one. Sonata X, distinguished by an especially quality in terms of originality and learned compositional skill; we think the popular weird and strange ending, is a piece of especially strong character. samples here put the lie to this idea. You’ll have a chance to hear these popular selections alongside somewhat more ‘serious’ fare like the Telemann, Castello and Salomone Rossi was unique as a Jewish composer at the Catholic court of Bach earlier on the program, so you can decide the question of originality and quality Mantua. His works include Italian madrigals and canzonets, and a number of sacred for yourselves! vocal works in Hebrew for use in synagogue services. Rossi’s Sonata sopra l’aria di Ruggiero, from his third book of sonatas (1623), is a set of variations over a repeating Georg Philipp Telemann was the German composer of the High Baroque bass theme—the Ruggiero chord progression. The upper lines exhibit both solo- whose work was likely played the most by his contemporaries. He was the most sonata virtuosity and the sort of conversational dialogue that was to become a prime prolifi c composer of his, or any time, as recognized by the Guiness Book of World characteristic of the later trio sonata. Records. Copious and often-reprinted (and pirated) editions of his works ensured their dissemination to all parts of Europe; however, Telemann’s “international” style- The English court masque was a form of entertainment that combined music, -fusing the best of French, Italian, and German characteristics--must also surely have dance, costume, scenery, and “machines”. Masque dances fell into two broad contributed to his popularity and fame during his lifetime. From the composer’s categories: Antimasques (or Antickes) and Maine Masques. Antimasques such as Temple fi rst set of Paris Quartets, the opening work on today’s program is called a “concerto,” Anticke and The Fairey Masque were burlesque dances performed by professional because it is in the three-movement concerto form, with Italian movement titles, and dancers and acrobats. Described by Ben Jonson as “a spectacle of strangeness,” agile and energetic melodic lines reminiscent of the Italian instrumental tradition. they were characterized by frequent changes of meter and tempo, swift modulations, All of this demonstrates Telemann’s trademark “conversational” approach within alternation of contrasting moods, and often ended with a lively dance of popular the context of the more modern galant style, with its grace and delicacy of gesture. origin. Contrastingly, the more dignifi ed and sedate Maine Masques were usually danced by the royalty and nobility at court. Cuperaree or Graysin falls into this category. Jean-Philippe Rameau, the most distinguished opera composer of 18th- century We have record that Queen Elizabeth I herself especially enjoyed dancing the volta, France, was well known for depicting the exotic and even the savage. His vivid a dance that includes a step in which the woman is tossed into the air. William opera, Les Indes Galantes, consists of scenes set among the American Indians, the Byrd’s setting of this dance is a brief but charming example of this master’s virtuoso Incas of Peru, and the Turks. The Musette comes from the prologue (set in Arcadia), keyboard writing. and depicts the droning sound of a small bagpipe. Rameau particularly loved the Tambourin a furious dance from Provence making use of a tall, cylindrical drum (not James Oswald was a composer, concert promoter and music publisher who a tambourine!) began his career as a dancing instructor in Scotland. His earliest compositions were 4 5